The musical biopic has become a staple of awards season. Heck, we had Bruce Springsteen try to sing himself out of depression already this year. Most music biopics have rhythms and formulas premade and almost boringly easy to understand. So props to Mona Fastvold, who maybe has made the most grounded music biopic ever conceived, about a singer who hasn’t had a hit in a few hundred years.
Ann Lee (Amanda Seyfried) was a bit of a star of her time. Growing up in England in the 1700s, the religious Lee found her place when she met Jane Wardley (Stacy Martin). Wardley founded the United Society of Believers in Christ’s Second Appearing. That’s a mouthful, hence why their dance laden church services led people to call them the Shakers. Lee quickly becomes the star pupil, taking this movement to “New England” with her brother William (Lewis Pullman), finding a home in upstate New York to put roots and attract new followers.
Like her husband did with The Brutalist, Mona Fastvold so holds sway over The Testament of Ann Lee. Music is so seamlessly integrated into Ann Lee’s story I had to remind myself that this is a musical. Daniel Pemberton’s score is a highlight of the movie, tapping into Shaker musical traditions that help the audience understand why the believers were so roused into euphoria. The music leaves the characters’ bodies and turns into giant beautiful dance numbers in chambers, out in fields, and at sea, providing the movie testament greater scope for Mona to tell her tale. Around these sequences she seamlessly weaves in Ann Lee’s life story, equipped with sterling period piece attire. The amazing woman feels like she has lived multiple lives by the end of Fastvold’s film, going on an epic journey of self-discovery and life’s purpose, one part brilliance, one part madness, very much the Ann Lee mantra. Mona shoots the story in 35mm, layering over this tale a gritty historical elegance that makes The Testament of Ann Lee feel more like a book that has come to life to tell the Shaker story to us all.
And at the center of all this religious commotion is Amanda Seyfried. I didn’t know if she had this type of performance in her, but now I feel stupid for even thinking that. Seyfried goes to the lowest of lows, up to the highest of highs, and back again as our titular prophet, making sure each piece of Ann Lee’s tale is fully realized and integrated into her greater being. Including the singing and dancing, which she nails on both fronts. Rising to the occasion to meet her is Lewis Pullman. Mostly a side character, Pullman is a supporting player here, but his part as brother William gets nearly as grand of an arc as Ann herself, finding a modern man inside a world dominated by old ideas on patriarchal societies. The rest of the cast brings their A game too, including another interesting performance from Thomasin McKenzie, who is developing a stellar resume of character actor work.
You almost made a believer out of me, Mona Fastvold and Amanda Seyfried. There’s a lot to like in Shaker teachings. Though, that vow of celibacy is a real deal breaker. That means not a lot of kids, and why your numbers only total 3 members in 2025. So thanks be for this loving reminder of a fascinating woman and her group of followers…none of which can see the film living their simple lives on the farm.